The works of Martin Doyle [pseud.] containing I. Hints to small farmers on land, fences, cottages, potatoes, mangel wurzel, turnips, manures, &c. II. Hints on road-work, ventilation, health, dress, temperance, education, &c. III. Hints on planting, cattle, fowls, fisheries, agricultural implements, flax, &c. IV. Irish cottagers.

Each work has also special t-p. and titles vary from those on main t.-p. I. Hints originally intended for small farmers of the county of Wexford ... 7th ed., rev. and enl. 1831. II. Hints addressed to the small holders and peasantry of Ireland on road-making and on ventilation, &c. &c. 1830. III. Hints to small holders on planting and on cattle. &c &c. 1830. IV. Irish cottagers ... 1830.

Four wrestlers with trophies; T.J. Doyle, L. Bleich, J.C. Peterson, R.L. Combs

[Thomas Jackson Doyle attend U-M 1901-1904; Rezin Lewis enrolled in Engineering College 1907-1912.] [somes stains and damge to original digitally repaired]

The life, times, and correspondence of the Right Rev. Dr. Doyle : Bishop of Kildare and Leighlin /

Mode of access: Internet.

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.